The book Harmony, Heinrich Schenker is published by University of Chicago Press. Harmony, Heinrich Schenker’s first published work, originally appeared in German in as “New Musical Theories and Phantasies, by an Artist.” Its unusual. Harmony. By Heinrich Schenker. Edited and annotated by O. Jonas; translated by Elisabeth Mann Borgese. pp. (Univ of Chicago Press, ).
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Volume II of Schenker’s series of theoretical works entitled Neue Musikalische Theorien und Phantasien New Musical Theories and Fantasiesoriginally intended as a single volume, but ultimately split into two half-volumes, the first, subtitled Cantus Firmus and Two-voice Counterpointpublished by J. Preparation of Kontrapunkt is recorded in Schenker’s diary from at least August The “Foreword” to Harmonielehre released November 10,states: I will not neglect, before the publication of my Psychology of Counterpointand to reinforce and put into practice the present Theory of Harmonyto publish a supplementary text entitled “The Decline of the Art of Composition—a Technical-critical Inquiry.
The Niedergang der Kompositionskunst Decline of the Art of Composition was never published, and Schenker dropped the “Psychology of” from his title. After a two-month delay to prepare the second edition of Beitrag zur OrnamentikSchenker continued drafting Kontrapunkt in Junesubmitting the manuscript of Sections I and II of the book on September On October 8, Schenker proposed splitting the work into two half-volumes, but Cotta resisted this, agreeing finally only on June 1, Proofing began in late October and continued, with interpolation of preliminary matter and supplementary material, until Augustthe work being published on October 4, After the negotiations with Universal Edition over Kontrapunkt 2 see belowa print-run of copies of Kontrapunkt 1 was produced for UE on February 21, UE A pencil note states that on March 26,11 copies were handed over to the Gestapo.
On November 6, Schenker claimed that Section III was the “complete” volume, and urged Cotta to proceed with printing, while at the same time vaguely retaining the possibility that he might send them more to be incorporated CA Cotta replied with new financial proposals, in the face of which Schenker realized that he could no longer fall back on Alphons von Rothschild for the publication costs. Schenker then turned to Emil Hertzka.
When Schenker submitted the remaining material, and when proofing took place, are unclear. The volume went to press on May 30,and according to the UE Verlagsdruckbuch the printers delivered copies to UE on November 30, ; however, Schenker records the release of the volume in his diary for July 7,and informs his pupils and friends.
A pencil note states that on March 26,copies were handed over to the Gestapo. English and German versions German version only English version only.
This is Schenker’s initial approach to Cotta: Schenker expects the press to be enthusiastic about Harmonielehre. Cotta hopes for the manuscript of Kontrapunkt [I] soon, and asserts that the same terms of contract will apply as those for Harmonielehre. Schenker has not responded to Grunsky’s invitation because of pressure of work with Kontrapunkt. Schenker makes a first approach to Rudorff; it concerns interpretation of a passage in Chopin’s Ballade No.
Schenker asks for a copy of his Harmonielehre to be sent to the Gesellschaft der Musikfreunde; — He seeks advice regarding Theodor Frimmel and the Beethoven-Jahrbuch, explaining the delay on Kontrapunkt I. Cotta has sent a copy of Harmonielehre to the Gesellschaft der Musikfreunde, and thinks that pre-publication excerpting of Kontrapunkt would be advantageous.
Grunsky thanks Schenker for revealing his identity as author of Harmonielehre. Responding to Grunsky’s request, Schenker gives his assessment of Bruckner’s music. First exploring common ground between him and Grunsky, he then offers “technical reasons” why he regards Bruckner as “possessing minimal powers of invention,” therefore cannot call him a “master.
Schenker promises a list of people in German to receive complimentary copies of Ornamentik, and a new proposal. Schenker promises Counterpoint soon and speculates on publication by Christmas; — Asks for a copy of Harmonielehre to be sent to his sister Sophie.
Cotta looks forward to receiving Kontrapunkt, and has sent copies of Harmonielehre to Sophie Guttmann and Ernst Rudorff. Schenker reports progress on his Kontrapunkt. Bruckner’s stumbling block was form.
Harmony – Heinrich Schenker – Google Books
Cotta states that Kontrapunkt will be produced under the terms of the contract for Harmonielehre. The prospect of an English translation of Beitrag zur Ornamentik pleases Schenker.
Schenker defends his Introduction to the Instrumentations-Tabelle and the exclusion of the heckelphone. Schenker raises again the splitting of Kontrapunkt into two half-volumes, or even four installments.
Cotta accedes to splitting Kontrapunkt into two half-volumes, and proposes a publication schedule for the first half-volume. Schenker has sent final proofs of gatherings 10 and 12, but has mislaid those for 11 and asks for another copy.
Schenker explains the hamrony for some late interpolations into Kontrapunkt I. Cotta welcomes the recognitions that Schenker has been accorded recently, and hopes they will affect his work propitiously.
Halm seeks advice on choice of edition for the Beethoven variations, and offers advice in negotiating with publishers. Schenker has received Halm’s article about him, and expresses his appreciation. sfhenker
Schenker’s mother died in December ; he looked after her and his siblings from the time his father died . Addresses a reservation on Halm’s part—speaking to him as “leader to leader”—and confirms his concept of the Volk. Schenker has a plan to put to Halm. Schenker writes of the deteriorating intellectual conditions in Germany and Austria with respect to other nations, and of the devastating political and psychological consequences. He hopes to talk with Halm about these matters when he moves to Germany.
Dahms thanks Schenker for his advice on the next stage of instruction.
He wrote to Halm, who confirmed what Schenker had said. He congratulates Schenker on the superhuman work that he is doing under current adverse circumstances. Schenker has been exploited by UE regarding EA and the “Little Library,” and must now protect himself and extract better working conditions.
In a musical garden of Eden of genius, the rest of the world behaves like Adam and Eve. Schmid to receive it. Halm reports that he has moved from Esslingen to Wickersdorf, and that his Concerto for Large Orchestra has been performed by Fritz Busch in Stuttgart, and comments on Cotta’s hand-over of Kontrapunkt. Having settled into country life in the Tyrol, Schenker returns to his work, in particular to the ongoing battles with Hertzka over the publication of Der Tonwille.
Weisse apologizes for not having written for a long time. Universal Edition have declined to publish his Sextet. In the missing portion of the letter, which is summarized in Schenker’s diary, he asks his teacher’s help in finding another publisher, perhaps with Wilhelm Altmann’s intervention.
Replying to Violin’s previous letter, Schenker expresses surprise about Egon Pollak’s enthusiasm for C. He also expresses uncertainty about whether to accept an honor from the Academy of Arts and Science in Vienna. A translation and adaptation of part of his Counterpoint, vol. He sends little Karl a picture of himself, and leaves space for Violin’s sister Fanny to add a short greeting.
Dunn has sent him his translation [of part of Kontrapunkt], which he thinks may serve classroom use better than that of Vrieslander. Schenker recounts Joseph Marx’s requirements for adapting his Harmonielehre for teaching purposes, and the involvement of Alfred Kalmus at UE. Jonas encloses a translation of an English review of his book; comments despairingly.
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